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Blitzstein went on to compose realis-
tic musical plays with left-wing subject
matter but, despite critical accolades,
had difficulty finding commercial back-
ing. He joined the 8th Air Force in
London during World War II, and
served as director of music for the
American Broadcasting Station in
Europe, supervisor of the 1943
American Negro Troops Choral
Concert at Royal Albert Hall and com-
poser of 1944's Airborne Symphony.
Throughout his career, Blitzstein
worked with many of the lights of
American theater. For Lunchtime
Follies (1942), produced under Kurt
Weill's direction, he wrote "Quiet
Girl," a song about a young woman
involved in the war effort who wants
"to make the bullet that gets Hider."
He wrote incidental music for several
of Lillian Hellman's plays.
After the war, Blitzstein began sepa-
rating his politics from his work. He
composed the operatic Regina, based on
Hellman's The Little Foxes, and Reuben,
Reuben — about a psychotic, suicidal,
tightrope-walking war veteran — that
closed during tryouts.
According to Suskin, Blitzstein's fail-
ures usually were due to production
problems — not to his often-glorious
music. Leonard Bernstein called
Blitzstein's failures "fallen angels" and
named his daughter Nina for the
Reuben, Reuben heroine.
Bernstein, who staged a production
of The Cradle Will Rock at Harvard, said
about Blitzstein, "I have always believed
that Marc Blitzstein was, and still is, the
master of setting the American story to
music. Everything I ever wrote was
tremendously influenced by Marc's
work."
Blitzstein's one commercial success
was his labor-of-love, English adapta-
tion of the Berthold Brecht/Kurt Weill
musical play Threepenny Opera in 1954;
it ran on stages in New York for seven
years.
In the early 1960s, he was working
on the opera Sacco and Vanzetti, com-
missioned by the Metropolitan Opera,
and Idiots First, based on short stories
by Bernard Malamud. Neither was
completed. In 1964, Blitzstein was
attacked and killed in a street fight
while vacationing on the island of
Martinique.
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